Frederic George Kitton

“ I know no artist," he continues, "so alive as Cruikshank to the pretty sedateness of Georgian architecture. Then, too, there is the girl with basket on arm, a figure not quite ungraceful in line and gesture. She might have been much better if Cruikshank had ever made himself that accurate draughtsman of the figure which he hardly essayed to be, and she and all her fellows—it is only fair to remember—might have been better, again, had the artist who designed her done his finest work in a happier period of English dress." ”

“ What can be more impressive in connection with the story—nay, even independently of the story—than the illustration of Mr. Tulkinghorn's chambers in gloom; than the illustration of the staircase of Dedlock's own house, with the placard of the reward for the discovery of the murderer; than that of Tom All Alone's; the dark, foul darkness of the burial-ground under scanty lamplight, and the special spot where lay the man who 'wos wery good to me—he wos!'? And then again, 'The Ghost's Walk,' and once more the burial-ground, with the woman's body—Lady Dedlock's—now close against its gate. ”

“ Dickens was a very young man, and had commenced delighting the world with some charming humorous works, of which I cannot mention the name, but which were coloured light green and came out once a month, that this young man wanted an artist to illustrate his writings, and I recollect walking up to his chambers with two or three drawings in my hand, which, strange to say, he did not find suitable. ”

“ Forster intimates that these "three morsels of English landscape," delineated by Stanfield, had a singular charm for Dickens at the time, who referred to the illustrations altogether as by far the best that had been done for any of the Christmas Books. "It is a delight," he remarked concerning Stanfield's designs, "to look at these little landscapes of the dear old boy. How gentle and elegant, and yet how manly and vigorous they are! ”

“ It is, however, no exaggeration to say that the pencil of George Cruikshank was as admirable in its power of delineating character as was the mighty pen of Charles Dickens, and that in the success and popularity of "Oliver Twist" they may claim an equal share. ”

“ In the second number of "Pickwick" appeared the following just tribute to the merits of the artist: "Some time must elapse before the void the deceased gentleman has left in his profession can be filled up; the blank his death has occasioned in the Society, which his amiable nature won, and his talents adorned, we can hardly hope to see supplied. We do not allude to this distressing event, in the vain hope of adding, by any eulogium of ours, to the respect in which the late Mr. Seymour's memory is held by all who ever knew him." ”

“ George Stanfield, observed: "No one of your father's friends can ever have loved him more dearly than I always did, or can have better known the worth of his noble character." To the famous painter, for whom he ever entertained a strong affection, the novelist had dedicated "Little Dorrit," and, as a tribute to his memory, wrote (in All the Year Round) a sympathetic eulogium upon his departed friend of thirty years, where, after alluding to the artist as "the National historian of the Sea," he says: "He was a charitable, religious, gentle, truly good man. ”

“ Maclise, like other draughtsmen on wood, doubtless often experienced a sense of disappointment when their delicately-pencilled drawings were hurriedly engraved and submitted to the arbitrary treatment of printer's ink. In this way those subtle touches upon which the artist prided himself were lost for ever, so that the designs appear coarse and crude. Such was obviously the case with regard to the illustrations now under consideration, notwithstanding the fact that they bear the signatures of thoroughly experienced engravers. ”

“ Fortunately, the art of drawing upon wood (then much in vogue, but now practically obsolete) needed very little training in the hands of one skilled in the use of the pencil, so that Dickens was induced to favour Marcus Stone by agreeing to the adoption of the readiest means of producing his designs for the engraver. It is not generally known that the artist's first attempt at drawing on wood was the frontispiece for the first cheap edition of "Little Dorrit" (1861) , which, although showing marked ability, is by no means equal to his subsequent efforts. ”

“ Squeers has but one eye, and he has two, and the published sketch does not resemble him (whoever he may be) in any other respect, still he and all his friends know at once for whom it is meant, because the character is so like him." I think there can be no doubt that both Dickens and "Phiz," when delineating Squeers, reproduced too closely the idiosyncrasies of one individual, and that the author's description, as well as the artist's presentment, bore so obvious a likeness to Shaw, that he became the scapegoat for others worse than himself, and suffered accordingly. ”

“ The amicable relationship that had subsisted between the author and his principal illustrator was not strained by this event. As a matter of fact, the artist ever entertained a tender regard and admiration for the famous romancer with whom he had so long been associated, and we may readily believe what a writer in the Frankfurt Zeitung tells us when he says: "Just after the death of Charles Dickens, 'Phiz' was considerably affected by the mere mention of the name of that illustrious novelist, which seemed to stir up in his breast feelings of regret at losing such a friend." ”

“ That the re-engagement of Hablôt Browne as illustrator of that unfinished romance was not contemplated may be attributed chiefly to the fact that, in 1867, the clever artist whose name and fame will ever be associated with the writings of Dickens was unhappily struck with severe paralysis, and consequently his hand had lost its cunning. ”

“ While admitting the technical superiority of many of the illustrations in the later editions of Dickens's works (such as those by Frederick Barnard and Charles Green) , the collector and bibliophile claim for the designs in the original issue an interest which is lacking in subsequent editions; that is to say, they possess the charm of association—a charm that far outweighs possible artistic defects and conventions; for, be it remembered, these designs were produced under the direct influence and authorisation of Dickens, and by artists who worked hand in hand with the great romancer himself. ”

“ Marcus Stone was fortunate in making his début as a black-and-white draughtsman at the time when a remarkable array of talent presented itself in the pages of the Cornhill Magazine, just then launched by Thackeray, the illustrations for which were supplied by Millais, Fred. Walker, Sandys, and Leighton—a new school of designers, whose admirable pencillings could not fail to inspire the younger members of the craft. ”

“ It is generally considered that Seymour's woodcut illustrations are by far the best specimens of his talent, and the engravers of that day were exceedingly happy in reproducing the delicacy of touch and brilliancy of effect which distinguished the drawings made by him direct upon the blocks.
Seymour's first design represents the Tuggs family and their friends, Mr. and Mrs. Captain Waters, on the sands by the seaside, and it is interesting to learn that the fat man seated on a chair in front is said to be a portrait of the artist, as he appeared during the latter part of his life. ”

“ It seems probable that Dickens owed his introduction to this artist through the friendly intervention of Washington Irving, who, in May 1841, thus wrote to the novelist: "Do you know Leslie the painter, the one who has recently painted a picture of Queen Victoria? If you do not, I wish you would get acquainted with him. You would like one another. He is full of talent and right feeling. He was one of my choice and intimate companions during my literary sojourn in London. While I was making my early studies with my pen, he was working with his pencil. ”

“ Seymour, like many other ambitious young artists possessing more talent than pence, quickly realised the sad fact that, though the pursuit was in itself a very agreeable one, it meant penury to the painter unless he owned a private fortune or commanded the purse-strings of rich patrons. ”

“ Recalling the fact that the Novelist not unfrequently availed himself of the traits and idiosyncrasies of his familiars, it seems somewhat strange that in the whole range of his creations we fail to discover a single attempt at the portraiture of an artist; for those dilettanti wielders of the brush, Miss La Creevy and Henry Gowan, can scarcely be included under that denomination. ”

“ Although he never became the learned artist, nor was able to draw with academic accuracy, he wielded his pencil with a facility and vigour that delighted all beholders, and this deftness, combined with a remarkable sense of humour and satire, speedily brought him commissions from every quarter. ”

“ From the "Pickwick" days onward the artist was fortunate in securing the services of his fellow-apprentice in Finden's studio, Mr. Robert Young, who was afterwards his partner in many artistic ventures, and always his most intimate friend and admirer. When at Finden's, Mr. Young acquired the art of biting-in, a process which, although to some extent a mechanical one, requires a considerable amount of artistic knowledge and manipulative skill, for there is nothing to guide the etcher as to the required effect, except in some cases a rough indication on paper. ”

“ James Hamilton Presents to Dickens his Sketch of "What are the Wild Waves Saying?"—The Artist Rewarded for his Generosity—Water-Colour Drawings by Charles Green—How they Originated—An Interesting Series.
The novels of Charles Dickens are an interminable storehouse of subjects for pictures, so it is not surprising that they have always exercised a fascination over painters. The following is a list merely of those pictures that have come under my notice,—a collection which, doubtless, could be much amplified by reference to the catalogues of the Royal Academy and other important Art galleries. ”

“ This curious mistake, which might have been avoided had the drawing been submitted to Dickens, was not discovered until too late for remedy, and it is highly characteristic of the novelist, of the true regard he felt for the artist, that he preferred to pass it silently. The most remarkable thing of all is (as Forster has pointed out) , nobody seems to have noticed the unfortunate oversight, although it must be obvious to every attentive reader that it makes great havoc of one of the most delicate episodes in the story. ”